My initial take on this was that it was more of Anderson’s usual schtick: a beautifully composed romp that didn’t have much of a heart. But over the next few days, as I lived with the film in my mind, I’ve come around to it. The family dynamic here is the most interested he’s been in the human part of his stories since perhaps the Tenenbaums days, and the spiritual element makes it a fascinating character study for almost everybody involved.
Honestly pretty delightful, and quickly becoming my favourite of his since Grand Budapest.